“I started making creatures,” VFX CEO Daddy Einarson said of his career, which began in the early 1990s. He was inspired by what he calls “the first digital carp films with computer-generated visual effects.” like Water Creatures. Split and dinosaurs Jurassic Park. “Then I created the environment for several years. I’ve been creating many creatures and environments lately and I’m probably the happiest person here. “
Before starting with the creatures and the environment, Einarson also started enjoying the “invisible effects” of other films that didn’t need such a heavy hand in visual effects. “But when it comes to choosing between projects that have one or the other,” he says, “the possibilities that come with a visual effects project are more interesting.”
One of these projects fell on his lap. sorcerer. Although he joined at the end of the first season, after being asked by one of the VFX producers, he became the VFX supervisor for the second season, which allowed him to get a lot more information early on. “So far, not many people are joining the program. [the visual effects team]”- says Einarson. “Basically, there’s a script and we start breaking it down very early… it’s way ahead of the directors who are included in a similar program. sorcerer. “
According to a series of books of the same name, sorcerer Follows Gerald Rivia (Henry Cavill), a mutant monster hunter known as the “wizard” whose fate is tied to that of the “son of fortune” named Tsir (Freya Allan). The second season resumes after the Battle of Soden, Gerald and Tsir travel to the alleged safety of Kaer Mohren.
“For season 2, we wanted to increase the reach of the show,” he said. “We wanted the creatures to feel more integrated and engaging, a living part of the story.” Einarson describes the process of creating these creatures and making them more vital. “There is a concept artist who comes up with the original design for the creature,” he says.
A key part of creating is working on previews, which is the process of viewing creatures before they are actually created. “We are working with this company on the third floor,” he says, “to get the pages of the script and, above all, to make an animated film.”
Once that’s done, it’s time for the artists and the prosthetic team to step in and start realizing how real the character will be. “In the case of Aeschylus,” he says of the corpse transformed into a witch, “the facial prosthesis was real, as was the beginning of the head and part of the chest, and then it was all a blue dress.” Since then, the VFX team has partnered with Henry Cavill and his gimmick team to improve physical performance.
sorcerer I was able to satisfy a favorite Einarson guy with the whole project. “There’s a moment when you’re working on a character or a creature,” he says, “where you start to feel the life behind it, and it’s a magical moment for me. “When it’s alive and has depth and nuance, it’s very interesting to me.”
Click on the video above to see the full interview.
Source: Deadline
